And whatever you do/get, make sure to turn this off before doing a render, because this kind of mixing solution is to counteract your setup alone, and thus will sound weird on everyone elses')Īnd all of that being said, like other posters have said: keep working on it. (and also canopener may be doing something basic enough that you could just do it in your DAW, just make sure to save it as part of your opening template so you don't have to set it up each time, just toggle on/off. Can't speak to canopener personally, haven't tried it. Super useful for making headphone mixes/sound design sound waaay more "right" on other setups, and it just gets better with the better/more accurate headphones you have. But Realphones gets some pretty comparatively solid reviews on gs forums, people ditching their VSX/SonarWorks/Waves NX to use Realphones instead. There's also other software available, like Canopener, Waves NX, Slate VSX, and a few others I think. Very customizable so you can listen to all of the music you like, and when you get it sounding just how you like it, use that preset to do your production. Getting more expensive than the middle-grade option just gets you more headphone correction curves, which is only something you need if you own more than 3 pairs of headphones that you use regularly.Ĥ0-day trial. Basically, it's the next-best-thing to a pro mixing room, but inside your headphones, which will go a long way in your effort solve the frequency/stereo issues you're suffering when going between headphones and non. 45% off, the middle option (priced at around $50 USD right now) provides you with the correction curve specific to your headphones model and also spatialization/stereo-ization (your headphones, like another couple of posters have said, don't have "crosstalk" the left channel is only heard by your left ear and same for the right this keeps you from getting an accurate stereo image). It's a software that puts you in a professional mixing room in the optimal listening position between the virtual monitors. While there are some simple standard receipts, doing it right requires enormous amounts of ear training and experience. It needs several years to get an idea about what it really is. Compression (of percussion) is a huge area. Reverberation is much more than just applying some reverb to glue things together. There are no shortcuts that replace experience and expertise.Īnd get yourself prepared that with each step of improvement your ability to judge your level gets more critical: The better you get, the more you will be sensible of how much is still missing (of course, some people are delusional about their abilities, but that's not the route one should go) Why do professionals with 30+ years of experience still work on their craft? Why do sound engineers study their craft over several years? Why do you think do composers study their craft over several years? However: keep in mind that every step you trying to learn is an art in itself that takes years until you have something like a vague idea how it really works. Youtube is flooded by bad tutorials that contain mostly dubious half knowledge.) Watching tutorials isn't a bad thing (as long as you pay attention to watch good ones. I guess more than anything else you need to be patient. There is a saying about the first four phases of somebody who starts learning a martial art which translates well to other areas as well. Production quality is what places music in media even though a track may not be a top notch compositionally. I am just tired of not getting an accepted mixing sound. This is not a frustration message by any means. I barely hear the choir's phrasing and I just hear a punch of loud people in a hall. However, when I play the thing in my car, bluetooth speakers or normal headphones, it's still sounds boxy and muddy. And all sound very sexy in my headphones. I apply compression on percussion to make them punchy. I apply convolution reverb to put all instruments in a single space. I eliminate boxy frequencies by subtracting the mids by -2 or -3db. I cut low frequencies from high instruments and slightly boost high frequencies in bright instruments to cut through the mix. When I mix orchestral music, I follow every step I learned in dozens of tutorials and courses. I also can't seem to getting a direct answer for this one.
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